Actress JULIE WALTERS has fired off an email to the Business Secretary urging him to step in to keep a top film studio open, insisting its planned closure will affect the country’s movie industry.

Twickenham Film Studios, which has hosted shoots for The Iron Lady, War Horse and The Beatles’ movies A Hard Day’s Night and Help!, has gone into administration and will be gradually wound down by June (12).

A new approach to film education in British schools and financial incentives to encourage early collaboration between producers and distributors are among the recommendations of a report published today.

“A Future for British Film – it begins with the audience”, published by an independent review panel chaired by Lord Chris Smith, was commissioned last year by Culture Minister Ed Vaizey and has looked at how to ensure film is a sector which plays a full role in driving growth.

The audience has been placed at the heart of the review, and today’s recommendations aim to maximise audience access to films of every kind.

“Golden period of film”

“British film is going through a golden period,” Lord Smith said. “A run of British-made and British-based movies has been taking audiences around the world by storm. But we cannot be complacent – this review highlights the things that the BFI, Government and industry can do to ensure that we continue to build on recent successes.

British film is in prime position to make a major contribution to the growth of the UK’s economy, to the development of attractive and fulfilling careers for young people, and to the creation of job opportunities across the country.”

The report contains 56 recommendations to Government, industry and the British Film Institute (BFI) including:

a new programme to bring film education into every school, giving every pupil the chance to see, understand and learn about British film

a call for the major broadcasters to invest more in the screening, acquisition and production of independent British film;

incentives ensuring a more collaborative approach between producers, directors and distributors which in turn will facilitate financing of projects;

a strong commitment to combat piracy and illegal exploitation of intellectual property;

a scheme to bring digital screens and projectors to village and community halls across the country.

Mr Vaizey said: “I am committed to creating a more stable and financially sustainable industry and I thank Chris Smith and the panel for the huge amount of work that has gone into preparing this report. I know the panel has worked very closely with representatives from the entire film community and I look forward to examining what the report recommends.”

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Cameron urges UK film makers to focus on box office British Prime Minister David Cameron on Wednesday urged independent UK film makers to focus on box office success, ahead of a review to be published next week into the government’s policy on the movie industry.

The film industry contributes an estimated 4.2 billion pounds ($6.5 billion) to the economy each year, including from independent pictures that do well commercially and blockbusters like the Harry Potter series, which are made in Britain but bankrolled by Hollywood studios. “The UK film industry, the skills and crafts that support it, and our creative industries more widely, make a 4 billion pound contribution to our economy and an incalculable contribution to our culture,” Cameron said.

He was due to visit Pinewood Studios, where hit movies like the James Bond franchise are shot, later on Wednesday to meet small and medium-sized businesses involved in film. “But in this year when we set out bold ambitions for the future, when the eyes of the world will be on us, I think we should aim even higher, building on the incredible success of recent years,” Cameron added in a statement. “Our role, and that of the BFI (British Film Institute), should be to support the sector in becoming even more dynamic and entrepreneurial, helping UK producers to make commercially successful pictures that rival the quality and impact of the best international productions.

Just as the British Film Commission has played a crucial role in attracting the biggest and best international studios to produce their films here, so we must incentivise UK producers to chase new markets both here and overseas”, said Cameron.

Two recent, low-budget independent British films made a major splash both in terms of ticket sales and awards. The King’s Speech won four Oscars including best picture in 2011, and earned $414 million in global ticket sales on a production budget of just $15 million, according to Boxofficemojo.com.

Two years earlier, Slumdog Millionaire was the big winner picking up eight Academy Awards including best picture and hitting $378 million at global box offices from a $15 million budget. According to official figures, UK films accounted for 14 percent of the global 2010 box office tally of $31.8 billion. But 12.6 percent was accounted for by UK movies wholly or partly financed and controlled by U.S. studios.

Former Labour culture minister Chris Smith is set to publish the findings of his review into the film sector next week. It is expected to provide incentives to British film makers to develop projects that deliver commercial as well as cultural success, while the BFI is likely to be urged to reinvest returns back into successful companies. The review is also likely to support the work of the British Film Commission which promotes Britain as a place to produce movies.

IndieFlix announced its partnership with fellow Seattle-based company Audiosocket and its Music as a Service (MaaS™) platform to provide filmmakers with a hassle-free approach to securing proper music licenses. A core initiative of IndieFlix is to provide resources and services to support the independent filmmaking community and in furthering that initiative the company will soon be launching its “Music for Film” service.

IndieFlix “Music for Film” is a fully integrated, custom-designed, music-licensing store that offers more than 30,000 pre-cleared tracks from over 200 genres created by emerging artists and composers worldwide. Filmmakers can search intuitively by genre, mood, or tempo and easily license their selections for all levels of distribution. Audiosocket’s platform delivers a fully integrated and searchable music library with 100+ categories of integrated metadata, localized to the IndieFlix platform.

“Many filmmakers get bogged down when securing the rights to music, or struggle to find the music they need to bring their films to life. IndieFlix gives filmmakers the power to distribute and market their films and now we’re extending our service by making music licensing accessible and affordable,” said Scilla Andreen, founder and CEO, IndieFlix.

IndieFlix “Music for Film” is currently running in closed beta; please contact sara@indieflix.com for more information.

A boost to the UK film industry is edging even closer through the Enterprise Investment Scheme (EIS) but one stumbling block remains.

Some barriers, which threatened to prevent film production from benefiting when the cap on EIS is raised from £2 million to £10 million next year, have been dropped – this is according to draft legislation relating to new EIS rules from 6 April 2012.

However this draft legislation and any changes still need EU State approval. HM Revenue and Customs at this point are refusing to comment on the likeliness of receiving the ‘green light’, as talks are still ongoing.

Industry observers have welcomed the more flexible approach to EIS contained in the draft legislation although several are still calling for greater clarity in how the rules will be applied.

The Background

EIS is a government project that’s increasingly being used to finance certain UK films, giving investors a range of tax reliefs.

Even if films don’t make a profit, EIS projects can limit losses through tax relief. If you keep an investment for three years, you can offset 20% of the amount invested against income tax liability in the first year and any profit made is free of capital gains tax (CGT).

If you make a loss, you can offset it against gains you make on other assets or, under certain conditions, against your income tax.

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The O2, London, 15th March 2011 – Robert Redford, the non-profit Sundance Institute and AEG Europe today announced Sundance London, a four-day multi-disciplinary arts festival that will include film screenings, live music performances, discussions, panels and other public cultural programming to be held 26th – 29th April, 2012 at the world’s most popular music and entertainment venue, The O2.

AEG Europe, owner and operator of The O2, Robert Redford, and his non-profit Sundance Institute will join together to present films from American filmmakers as well as American current music. Sundance Institute, which annually presents the Sundance Film Festival in Park City, Utah, U.S.A, will act as curator of the film component , while AEG Europe will use its industry-leading venue and marketing teams to stage and promote music and other related events at The O2.

Speaking to press at The O2, Robert Redford said, “We are excited to partner with AEG Europe to bring a particular slice of American culture to life in the inspired setting of The O2, and in this city of such rich cultural history.” Redford continued, “It is our mutual goal to bring to the UK, the very best in current American independent cinema, to introduce the artists responsible for it, and in essence help build a picture of our country that is broadly reflective of the diversity of voices not always seen in our cultural exports.”

Alex Hill, Senior Executive Director at AEG Europe said: “The O2 is famous for its exciting and diverse events schedule, but we’re particularly proud to be hosting Sundance London next year. Mr. Redford’s passion for the arts, the depth of his many businesses and the curatorial reputation of Sundance Institute are world renowned and we see this as a natural extension of the music and sporting events presented at The O2 since we opened in 2007. We look forward to extending a warm welcome to the best of the film industry in 2012.”

From Los Angeles, Keri Putnam, Executive Director of Sundance Institute added: “We look forward to bringing to UK audiences some of the most exciting independent American films from the 2012 Sundance Film Festival. The environment provided by AEG and The O2, coupled with London’s reputation as a global cultural destination, should make for a rich and rewarding festival experience and provide the artists with a unique and memorable opportunity.”

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A new online crewing service for the film and television industry will be launched, to help production teams find available staff.
Thecallsheet.co.uk is being backed by industry bodies including PACT, APA, UK Screen Association and the Cultural Diversity Network.

“Thecallsheet.co.uk is a great time saving resource, which not only provides you with a list of talent and crew who are available during the time you require them, but comes with the reassurance they will only accept those who have a proven track record,” stated Dawn McCarthy-Simpson, senior policy executive at Pact.

The website has been set up solely for people working behind the camera and they have to have a minimum of 10 credits or 2 years industry experience – unreleased films and shorts will not count – and every CV will be checked before going online.

“In an industry so technologically obsessed it’s incredible that we are still using the same methods to crew films that we’ve used for 50 years or more when the rest of the world can find any information they need just by a few clicks of a mouse on the internet. Thecallsheet.co.uk is long overdue and will bring crewing of films into the 21st Century,” added Chris Munro, Oscar winner for Black Hawk Down (Best Motion Picture Sound).

Set up by former production manager, Matt Gallagher, profile pages are linked to an online diary service and searchable credit listing, to connect crews to opportunities. UK production and facilities houses as well as recruitment agencies will be able to post to the site for free. Individuals wanting full access to the site will have to pay a monthly fee.

A separate area of the site will cater for entry level applicants, who don’t meet the experience criteria.

Creative England has opened two new schemes of Lottery funding, delegated from the BFI, to support the development of filmmaking talent in the English regions.

The Development Fund and Film Networks Fund will be key drivers in delivering Creative England’s Talent Development aims. They hope to nurture emerging and established regional filmmaking talent by supporting development of their work; to encourage a diverse and engaging on-screen cultural identity for the English regions; to stimulate innovative creative and commercial approaches to filmmaking; and to promote the talent and creativity of the English regions to the world. Individual writers, writer/directors and/or producers based in the English regions have been invited to submit applications for the development of all types of feature films, including animation and documentary.

Applications are also invited from writer/director/producer teams. Funding is available for the costs of developing a screenplay (or the equivalent for documentaries) such as research costs, writer’s fees, script editor/developer support and script readings. Meanwhile funding will also be available for screenplays that are ready to be presented to potential financiers, to help with budgeting, scheduling, casting, producing teaser trailers/pilots, and other expenses associated with raising finance and generating sales and distribution interest.

The Development Fund totals £250,000 in its current round and applications are welcomed on a rolling basis. Awards will range from £2,500 to £25,000. The Film Networks Fund is open to networks and organisations whose work supports and promotes filmmaking activities in the English regions. Funding will be available for a range of eligible activity including provision of editorial and technical support for emerging talent looking to produce work, delivery of networking, screening and industry speaker events and master classes, and provision of peer-to-peer support, mentoring, training and advice.

The Film Networks Fund is a fixed call with £150,000 to award in this round. Awards will range from £2,500 to £25,000, and the deadline for applications is 30 January 2012. As well as distributing Lottery awards, the Talent Development team will also provide advice, brokerage and practical help to filmmakers in developing and producing their projects. Creative England’s Head of Talent Development Chris Moll said: “We’re targeting our Development Funds at those unique regional voices with great new stories to tell, combined with the skill to drive their project forward both creatively and commercially.

We’d like to hear from applicants from all around the country, so that we can reflect the real diversity that is out there in the regions. Our funding for Film Networks is intended to help filmmakers even further by boosting the regional infrastructure for talent development and help strengthen the many initiatives running around the country that are already doing great work. “We plan to complement this with a new microbudget programme next year, and we are also continuing to work closely with the BFI to ensure the regions are central to future national talent development strategy.

We want to make sure that we really make the most of this opportunity to work together to fully realise the creative, cultural and economic contribution that talent in the regions can make to British film.” Eddie Berg, the BFI’s Director of Partnerships, said: “The launch of Creative England’s talent development funds will be welcomed by writers, directors and producers across England, and will complement well the talent development activities of the BFI’s Film Fund which benefits applicants throughout the UK.

We are absolutely committed to supporting the UK’s emerging filmmaking talent and Creative England is a key delivery partner in fulfilling this commitment; we look forward to working closely together in supporting distinctive, diverse and exciting filmmaking talent in the English regions.” Creative England launched on 1 October 2011, becoming a BFI delegated body for the distribution of National Lottery funds for film in the English Regions.

Lovefilm and the Moët British Independent Film Awards (BIFA) are teaming up to bring the ceremony into the homes of films fans across the UK for the first time. The partnership will see Lovefilm broadcast the awards live over the Internet from interactive red carpet interviews to a first look at the night’s winners.

Now in their 14th year, the BIFAs set out to celebrate independently funded British filmmaking, to honour new talent and to promote British films and filmmaking to a wider audience—and until now have never been available to the general public. BIFA have chosen Lovefilm as their broadcast partner and the home of this exclusive content.

As well as streaming the ceremony, Lovefilm will also be covering the red carpet and the winner’s tent, ensuring that viewers can immerse themselves in the atmosphere and emotions of the night. Film fans will be given the opportunity to ask big Hollywood names such as Vanessa Redgrave, Gemma Arterton, Ralph Fiennes, Imelda Staunton, Kenneth Branagh and Oscar winning director, Danny Boyle their questions on the red carpet through Twitter and Facebook.

Simon Calver, CEO of Lovefilm, said: “We are very proud to have been chosen by BIFA to stream the awards live into the living rooms of film fans over more traditional approaches. We are always looking for new ways to bring the world of film to those who are passionate about it, and working with the BIFA team is a fantastic way of achieving this.

Lovefilm will be the place to be this Sunday for film fans as some of Hollywood’s brightest take to the stage to accept their awards.”

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More American film studios could be tempted to film in the UK after a delegation was sent to Los Angeles to promote Britain’s creative credentials.

Culture Minister Ed Vaizey and Adrian Wootton, Film London and British Film Commission Chief Executive, have crossed the Atlantic to meet senior officials from many of the city’s top studios and production companies.

Their mission is to convince Hollywood to film productions in the UK by championing the nation’s excellent facilities, first-rate films crews and prolific film and TV sector.

It is hoped that the Government’s decision to extend the UK film tax relief until 2015 might also convince many studios to produce films in the UK.

Mr Vaizey described the trip as “an important opportunity to meet with the studios who invest over $1 billion (£635.7 million) a year in the British film industry”, while also revealing that he will have the opportunity to learn by observing the ever-thriving US film industry in action.

Mr Wootton said: “LA is hugely important to us and it is fantastic Ed Vaizey is able to promote what the UK has to offer, from our excellent facilities to the unrivalled experience of our crew and of course, the tax relief which helps make the UK a cost-effective option.”

Some recent films shot in the UK include Snow White and the Huntsman, starring Charlize Theron; Bryan Singer’s Jack the Giant Killer; and World War Z, starring Brad Pitt.

For independent filmmakers, Post Production can be a costly and lonley process without the correct contacts and facilities. Here are five tips for getting access to talented and professional post production artists.

1. Offer to credit the company and the artist on the film, in your marketing and on your packaging as a sponsor or as an Executive Producer. It carries more weight than only being credited in the film for their post production speciality.

2. Contra-deals are a great way to exchange your services for post production time. If you are a photographer, web designer etc, offer to provide your services and in return you will take payment through post production services.

3. Work in downtime. Sometimes post production facilities will have quiet times (downtime).Offer to work in quieter times.

4. Read industry publications eg: Broadcast, Televisual etc and find out which facilities are new or investing in new technology. Offer to use your film to test their new kit. (This option can be a lengthy process and requires that you keep backups of all content).

5. Hang around the pubs in London Soho and get chatting to people. In the UK, Soho is the hangout playground for post professionals. Let people know about project and hopefully, someone will be interested and give you some time.

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All over the UK, QR codes have been spotted on direct mail pieces, film posters, business cards and across the streets of London.

QR codes are a creative way of using current technology to spread and share information.

The positive elements of using QR codes is to quickly scan with your phone and capture, easily and quickly information shared via the link provided. With the use of the QR code means that you do not have to have a pen and paper to hand. In addition, even if you cannot view the content immediately, it will save the link and you can access it at a later date.

Negative: You can sometimes look a little strange holding up your phone to these little square codes.

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£6,000 ARTE Pixel Pitch Prize To Be Won THE PIXEL MARKET is dedicated to showcasing and financing cross-media projects from around the world.

The event takes place on 12 & 13 October 2011 as part of Power to the Pixel’s annual Cross-Media Forum from 11 – 14 October held in association with the BFI London Film Festival.

The Pixel Market will introduce 25 cross-media project producers to top international financiers, commissioners, tech companies, online portals and media companies during the two-day event. Up to 8 of the 25 selected teams will compete for the £6,000 ARTE PIXEL PITCH PRIZE at the Market’s public event, The Pixel Pitch on 12 October at NFT1, BFI Southbank. Teams in competition will present their cross-media project to a selected roundtable of international jurors made up of international decision-makers, commissioning executives and financiers working in film, broadcast, publishing, online, advertising, gaming, the arts and interactive media.

The second day of the market on 13 October will offer one-to-one business meetings to the 25 project teams with potential investors and partners from across the media industries, technology and finance companies. Entries are invited from producer-led teams from around the world with a strong track record in film, broadcast, interactive media or other relevant creative industries. Each project’s story must span a combination of film, TV, online, mobile, interactive, publishing, live events and gaming. Projects must also include the use of new tools, platforms, services and devices and be at an advanced stage of development. Teams selected for The Pixel Market will benefit from significant international publicity and can expect to be introduced to new international business and partnership opportunities.

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From late August 2011, Clare will be responsible for the cultural and commercial performance of BFI Southbank, BFI Festivals and BFI IMAX. She will lead the delivery of a dynamic world class programme of British and international cinema that is designed and contextualised to attract the broadest and most diverse audience.

Clare, whose career in programming spans sixteen years, joins the BFI from her position as Festival Director of Sydney Film Festival, a role she held for five years. Clare introduced and built the reputation of the festival’s Official Competition, successfully increased audiences and box-office takings, attracted new funding and sponsorship deals and curated new experiential strands. Clare’s final Sydney Film Festival was June 8-19 2011. In addition to critically and commercially successful festivals, Clare brings venue experience to the task having previously served as the inaugural Head of Film Programs at the Australian Centre for the Moving Image in Melbourne.

Clare Stewart said:

“I am thrilled to be joining the BFI at this significant moment in the organisation’s history and to be working with Creative Director Heather Stewart to forge the future strategy for the flagship BFI Southbank venue and leading film festivals. This new position provides the opportunity to align the expertise of the BFI’s team of programmers and producers with the objective of further enhancing the cultural and business impact of the BFI’s diverse screening programmes.”

Heather Stewart, Creative Director BFI said:

“This new role is a great opportunity for the BFI to bring together our exhibition activities and think about how we reach audiences for both historical and contemporary filmmaking in our festivals and all year round. I’m confident that Clare can meet the challenges ahead with flair and imagination. Clare has an impressive track record, most recently leading the Sydney Film Festival from strength to strength, and has proven that she has both the creative and commercial expertise this role needs.”

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Screen NETS is an advanced training programme to enhance and boost the skills, knowledge and contacts of new and recently entered practitioners in the Film and TV Drama Industry. The Background Building on a legacy of 30 years of the New Entrants Training Programme (NETS), and with investment from Creative Scotland’s talent development strand Creative Futures and the Skillset Film Skills Fund as part of ‘A Bigger Future 2’, the UK film skills strategy, Screen NETS will train five individuals, working in Camera, Production, Art Department, Assistant Directing or Animation through in-depth professional skills training, industry placements and mentoring.

Who can apply?

Applicants should be based in Scotland and have between 3 and 5 industry credits at trainee or assistant level (one credit required for Animation). Applicants must also meet additional general and specific criteria for the role they are applying to. Applicants should be able to identify specific skills gaps that they would like to address to increase employability. A training allowance is paid along with contribution to other expenses.

Who is delivering the training?

Screen NETS will be delivered by Screen Academy Scotland at Edinburgh Napier University which is based at Merchiston Avenue in Edinburgh. Screen Academy Scotland, a Skillset Film and Media Academy is one of only three dual-status Skillset Film & Media Academies in the UK. A collaboration between Edinburgh Napier University and Edinburgh College of Art (eca), Screen Academy Scotland is recognised by the industry as a UK centre of excellence in film and media training and education.

100 PRINTS have pulled together a distinguished panel of experts to share experiences, tips and advice for our Finding your Audience event on Thursday 2nd June 2011, at 20th Century Fox. The panel includes Emerson Forde, a journalist and pure film expert, who currently works within the film Industry and is a reporter for Rosemary Laryea’s Thursday Arts and Culture Radio show on Colourful Radio.

Also on the panel will be Carla MacKinnon is a producer and programmer of film and arts events. In the past she has produced Rushes Soho Shorts, London Short Film Festival, Branchage Festival and East End Film Film Festival as well as many one off events and training initiatives. She is currently creative lead on Rich Pickings, an occasional, discursive thought and film event exploring the most interesting things in the universe. You can find out more information about Rich Pickings at richpicks.org.

Third but by no means least John Battsek. John has produced a prolific run of celebrated documentary films over the last decade. Starting with Oscar & Emmy Awardwinning ONE DAY IN SEPTEMBER in 2000, Passion Pictures has produced over twenty five acclaimed and high profile documentaries most of which have been theatrically released worldwide. At the 2007 Sundance Film Festival Passion was responsible for two films in competition which yielded record-breaking distribution deals in dvances. IN THE SHADOW OF THE MOON sold North American television rights to Discovery and North American theatrical and dvd to ThinkFilm. MY KID COULD PAINT THAT sold North American television to A&E IndieFilms and worldwide rights to Sony Pictures Classic. Passion premiered two feature docs in competition at the 2010 Sundance Film Festival; RESTREPO which won the Grand Jury Prize and was – pre-sold by Passion – to National Geographic, plus THE TILLMAN STORY which was acquired by The Weinstein Company. Both films were released theatrically in the US this summer and have been shortlisted for the 2011 Academy Awards. More recently, Passions STONES IN EXILE premiered at the 2010 Cannes Film Festival, and FIRE IN BABYLON (recently nominated for a 2010 BIFA Best British Feature Documentary) premiered at the 2010 London FilmFestival where it was acquired for UK theatrical and was released in cinemas May 2011.

The BFI is looking for short films to host on its Vimeo channel as part of the BFI Future Film Young Docs collection. The Vimeo Channel will be a hub for young people across Europe to connect with one another through film, and will be a resource for media professionals and policy makers to see how young people really feel about hot topics before they make important decisions. If you have a documentary or non-fiction film you have made within the last three years submit it to us and you could be a part of this ground-breaking collection.

The documentary bursary

The BFI is also looking for young filmmakers aged 15 – 25 to work with them on creating new documentaries. Four of the most promising young filmmakers will win a bursary of £400 to make their film as well as mentoring by a professional documentary filmmaker over three months at the BFI. All you have to do to be in with a chance of winning a bursary is include a pitch for an idea for a new documentary you want to make with your documentary/non-fiction film submission. The pitch should be no longer than 250 words on the theme of “Same, but different”.

The video art bursary

BFI Future Film and Young Tate Online are looking for young filmmakers and artists aged 16-25 to create new moving image artworks with our support. Six of the most promising moving image artists will be selected, and will win a production bursary of £400 to make a new piece of work. You will also receive mentoring over a three-month period from professional artist and filmmaker Phillip Warnell. To have a chance of winning, you should send a summary of your idea on the theme of “Local Heroes” (250 words maximum), and a short summary of how you would spend the bursary, which should be used for the production of the work. You will also need to send a link to an example of an existing video work you’ve made.

Investors hoping to benefit from the tax advantages of enterprise investment schemes can invest in a specialist UK film EIS, according to Philip Ettinger, executive producer of Catweazle − the Movie. Advertising The Ettinger Brothers and producers Gatetarn Productions have teamed up … Continue reading →

Is life just a game? Can it be made into one? In this evening of
film and discussion, Rich Pickings looks at how game structures can be
applied to art and everyday life. A programme of award winning
animation, documentary, drama and music video work will be
followed by discussion with filmmakers, game designers, psychoanalysts and
others, who together will examine the myths and realities around ideas of gamification. In partnership with East End Film Festival and the Institute of Psychoanalysis

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NETFLIX, the US online film rental service which has hastened the decline of high street film outlets such as Blockbuster, could be coming to the UK. According to entertainment industry insiders, Netflix executives have said they are looking at expanding to the UK and Latin America, with Mexico and Brazil considered particularly promising markets. The UK would be the first country where Netflix will face a direct competitor in the form of LoveFilm, which is owned by online giant Amazon.

The news comes as a bidding war looms for Pinewood Shepperton, the film studio behind such blockbusters as the James Bond and Harry Potter franchises. Last week it emerged that former Harrods owner Mohamed Al Fayed is considering an all-cash bid for the historic UK studios. It came after Pinewood had earlier announced it had received an £87.8 million takeover offer from its largest shareholder, Peel Holdings, who own Liverpool port and various airports. Pinewood is currently planning a £20 million upgrade to its Buckinghamshire studios. Read more: http://www.express.co.uk/posts/view/242637/Film-renters-Netflix-focussed-on-the-UK-Film-renters-Netflix-focussed-on-the-UK-#i

Twelve British indie distribs have joined forces to form the Independent Film Distributors’ Assn. The new body has been set up for indies to explore common interests and possibilities in the ever-changing U.K. and international landscape. Founder companies are Artificial Eye, Dogwoof, eOne, Icon U.K., Lionsgate U.K., Metrodome, Momentum Pictures, Optimum Releasing, Revolver, Soda Pictures, Vertigo and Verve Pictures. eOne topper Alex Hamilton will serve as IFDA chair in its first year while Verve Pictures’ Colin Burch will act as vice chair.

The new org said its agenda will not conflict with the existing Film Distributor’s Assn., the trade body repping distributors in Blighty (which also includes studio members) and stressed all existing indies signed up with FDA will continue to remain so. “At times of considerable change and challenge in the U.K. marketplace, companies of all shapes and sizes have come together in a spirit of enthusiasm and collaboration to see if we can, on occasion, speak with one voice,” said Hamilton.

“The companies who’ve signed up to the association cover almost the entirety of the independent sector and we hope that we can make a contribution across a wide range of industry issues.”

Hamilton added that the body would not be collective bargaining unit. “We all know each other and we’ve all worked together quite often and while we’ll all negotiate individually with normal business partners, the formation of the body is more prompted by changes in the U.K. landscape,” he said. “We don’t know what the scope of the organization will do yet but there are certain things up for grabs post the U.K. Film Council landscape. Independent distribution is different from studio distribution and this organization is trying to provide a platform where indies can speak with one voice.”

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The BFI’s assumption of the UK Film Council’s responsibilities continues a decades-long saga of chopping and changing in the British film industry

This morning’s announcement by Ed Vaizey confirms the rumours that have been circulating from pretty much the moment that the UK Film Council was abolished: the British Film Institute will be picking up the reins of lottery-fund distribution to the film industry. What’s remarkable is that, after over two decades of chopping and changing, we are back where we were in the late 1980s: the BFI is the only game in town.

It’s especially extraordinary given the kind of rhetoric that accompanied the establishment of the UK Film Council in 2000. When John Woodward was appointed the UK Film Council’s chief executive in 2000, an interview he gave to the Guardian was perceived to be a not-especially-coded attack on the kind of – largely experimental – film the BFI’s production board had sponsored since the early 70s: “The Film Council will help to finance popular films that the British public will go and see in the multiplexes on Friday night. Films that entertain people and make them feel good … It’s pointless to go on handing out thousands of small amounts of money to small films that will struggle to find a distributor and be seen in cinemas … Nowadays, it no longer makes sense to marginalise public support by confining it to a small group of independent producers and directors, who will make films that no one will want or be able to see.”

And the UK Film Council’s first chairman, Alan Parker, was a well-known loather of the Peter Greenaway tendency: I can still remember him, when he was promoting Angela’s Ashes in 2003 on stage at the National Film Theatre, complaining about the adulatory reviews Greenaway got in the mid-80s.

The UK Film Council – in public at least – deliberately set its face against the unconventional, the arthouse, the “difficult”. Interestingly, the council has made enemies in the same way as the BFI production board did – until, of course, its activities were curtailed with the UK Film Council’s creation. The difference, of course, is that the UK Film Council has had access to millions, while the BFI only had thousands – originally given as a grace and favour fund direct from the Lord President of the Privy Council. Writing about the films of Bill Douglas, Mamoun Hassan, one of the BFI’s early, influential commissioners, gave us an interesting insight into how its oppositional stance was built into its foundation: “It represented the beginnings of an alternative cinema in Britain. Denis Forman, then chairman of the BFI, pointed out to the government that the BFI was doing what the National Film Finance Corporation, the quango responsible for film funding, was not interested in.”

The NFFC, a body set up to secure loans for film productions, was the funding establishment of its time, but as long ago as 1976, the Wilson government thought that setting up a single British Film Authority – the UK Film Council of its time – was the way forward. It never happened: the Conservatives in the 1980s weren’t interested.

Looking back, it’s bizarre how state intervention in film funding has been dominated by personal and political agendas. The UK Film Council, a creation of the post-lottery age, was motivated originally by a desire to overturn the dominance of the art film in British funding. The Wilsonian unitary film authority was anathema to Thatcherite laissez-faire; something that appears to be playing out again in the present day. When the lottery funding first materialised, in the mid-90s, it was directly administered, piecemeal, by the Arts Council, who were supposed to give money to projects not able to secure funding elsewhere; hence “lottery film” soon became shorthand for something pretty third rate, and quickly became a target for the likes of Alexander Walker at the Evening Standard. (It has to be said that film-makers, always able to talk a good game, ran rings around bureaucrats normally used to dealing with experimental theatre companies or brass bands.)

The government went to the opposite extreme: the “franchise” system, in which large blocks of cash were given to proven outfits, was supposed to ensure quality product, but that didn’t work either. Over the last decade, the UK Film Council was rather obviously the best organised, and most serious, attempt to make proper use of the lottery windfall. But now the swing is back the other way: an organisation with serious cultural and archival interest will now take over.

Interestingly, the UK Film Council’s record shows that a disbursement body can’t just follow a single line: it may have aimed for pure commerce, but also put money into films that the old BFI production board itself might have funded – My Summer of Love, Bullet Boy, Red Road, even a Peter Greeenaway film, Nightwatching. (Of course films like Sex Lives of the Potato Men – an outrageous financial and artistic blunder – balanced the account.) And over the decade of its existence, the council was forced to reorganise itself a number of times, to deal with anomalies and problems its development process created. Will the 2010s be an exact parallel of the 1980s, with the BFI desperately shoring up a film industry left to swing by the Conservatives?

The BFI, having been systematically stripped by the UK Film Council of its production role, will now have to build one practically from scratch – the fourth time in 15 years that the lottery largesse has forced a wholesale reworking of the state’s film funding process. We really are back where we started.

Tax breaks are required to secure the future of the British film industry, Watford’s MP has argued. by Neil Skinner

Richard Harrington, who convened a Parliamentary debate on the UK film industry yesterday, welcomed Warner Bros.’ £100million investment in Leavesden Studios but warned the British film industry would continue to shrink if home-grown investors were not incentivised by the tax system.

Despite the existence of such world-class facilities, he argued, most of the profits created by the industry still flowed into the pockets of foreign investors.

Potential British investors, he said, were put off by and by the scant rewards currently offered by the Treasury – a trend that has seen the average investment in British films fall by nearly a half to £1.5miilion since 1993.

He said: “The fact is that, while we have amazing facilities in this country and all the infrastructure, we are providing a vehicle mainly for foreign investors to do their production here while the profit, quite understandably, returns to the investors, who are abroad.

“Today, I am speaking to the Government about how we need to achieve a situation in which British investors can invest in British films tax efficiently.”

Mr Harrington, who called for the establishment of a Parliamentary working group to address the problem, conceded that a “lax film taxation” regime was introduced when the last government came to power in 1997, allowing wealthy investors to abuse the system.

But subsequent restrictions, he argued, had gone too far, meaning the UK side of the business was in danger of becoming “cottage industry.”

He added: “The value of the film industry to this country is significant. People might not be aware, but it directly employs about 36,000 people. If we include the multiplier effect, which studies do, 100,000 people derive their income from the film industry.

“The taxation commensurate with that is significant. The industry provides about £1.6 billion in direct revenues to the country and £440 million in taxation.

“…but we should look carefully at creating an industry that is British financed and British made, and whose profits remain in Britain.”

This article pulls together many of the resources available to filmmakers to raise funds for film projects. The terminology ‘public funding’ has taken on a whole new meaning. Through crowd funding, British Filmmakers can source a whole new revenue stream. The article ‘Is crowd-funding the future for documentaries’ by Kate Bulkley reveals details about crowd funding and the resources available to independent filmmakers – Funding models for Filmmaking

Many filmmakers may suspect that this is a shortcut to raising funds without a proper business plan, however, this is not the case as many funders still require an understanding of their Return On Investment (ROI)

Enjoy the wise words of Sue Everett, Writer/Director of ‘Mother Mine’. This case study is an insightful session on marketing and distribution for short filmmakers. You’ve sold your granny to get your film made, but what next? How do you maximise your films potential on the highly competitive short film festival circuit and get it seen by people who can make a real difference to your career? Sue unveils her strategy for ‘Mother Mine’, which has so far screened at over 72 festivals across the globe, picking up 13 awards along the way.

STEP 1: ASSEMBLING THE PACKAGE
“It is critical to assess the global market’s appetite for a package in advance of budgeting and shopping it to financiers. Presenting an unrealistic package or budget can kill a project’s momentum.” — Micah Green and Roeg Sutherland, CAA

STEP 2: SECURING THE MONEY
“Seek out financiers that share the same vision as you on the script, cast, final cut, even the tone and genre. When calculating the cost of financing, make sure the timetable for returning production equity (like a bank loan) is calculated properly — sometimes filmmakers expect returns in 12 months, for example, when a realistic time frame is 18-24 months. Get a realistic schedule for production, delivery and collecting funds from the distributor — this will help you avoid unexpected interest costs or a lender foreclosing.” — Graham Taylor, WME Global

STEP 3: EVALUATING THE DEAL
“Highly structured, multiparty deals can appear attractive because they may provide more creative freedom, a higher budget and/or more economic upside. However, these deals can fall apart when one piece of the financing falls out, leading to hefty transaction costs to put Humpty Dumpty back together. A single equity source or a co-financing with a distributor is often the more prudent option.” — Andrew Hurwitz, Schreck Rose Dapello Adams & Hurwitz

STEP 4: GETTING GOOD ADVICE
“The tax credit situation in America is volatile — some states are running out of money for their programs, and vetting them is a whole business in itself. You also have agents desperately trying to do pay-or-play deals for their clients, so you need to know the point when you can commit to key actors without being on the hook for a lawsuit. Surround yourself with as many professionals as possible — attorneys, equity financiers, tax credit buyers and international sales agents.” — Cassian Elwes, film finance packager

STEP 5: FIELDING THE OFFER
“Oftentimes a filmmaker will come to us excited about a $4 million offer, but it’s not real until it’s in the bank. Since you sometimes can’t vet a financial source, you should put their money in a safe escrow account overseen by a solid, neutral attorney. Make sure the funds are designated for the film and can’t be removed just because they change their mind.” — Rena Ronson, UTA Independent Film Group

STEP 6: GETTING RIGHTS BACK
“Filmmakers should seek to negotiate into the financing and distribution deals clear milestones which, if not achieved by a certain date, allow the filmmaker to terminate the agreement and reacquire his rights in the film free and clear.” — Andrew Hurwitz

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Therefore, please do not be a voice in the wilderness. FOLLOW OUR JOURNEY HERE and find out how you can get involved. We want you help! We need your support! We ask for your kindness!

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In 2002 Sir Alan Parker CBE made it clear what it would take to build a sustainable British Film Industry. Although the demise of the UK Film Council is a nerve racking prospect, there are opportunities to be seized if you are prepared.

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An independent industry report has concluded the film sector contributes a massive £4.5bn a year to the UK economy. With the industry proving resilient to the economic downturn its substantial contribution is welcomed while providing around 100,000 jobs. Thanks largely to the existing UK’s Film Tax Relief introduced in 2007, the film industry generates £13 for each £1 invested, with inward investment accounting for £3.6b of the sector’s contribution to the GDP.

The paper, titled ‘The Economic Impact of the UK Film Industry’ was commissioned by the UK Film Council, the Pinewood Group and post-production house Framestore.

The document highlights the financial importance of the film sector, of which three quarters is concentrated in the capital and the South East region. Of the 100,000 jobs created by the industry’s wider network, the core sector directly employs 36,000 people nationwide which has risen 7% from the latest figures published in 2006. Around 26,000 (55%) of these core jobs are based in London and other 5,800 (12%) in the South East, which hosts major film studios such as Pinewood and Shepperton.

As well as attracting many big productions to film in the capital, London is also confirmed to be at the top of the post-production game, gathering 20% of all film visual effects commissioned worldwide, a percentage that has doubled since 2005. The high specialization and collaborative approach of the many award-winning post houses around Soho helped them land contracts from top effects-laden productions of the past year including Avatar, 2012 or Where the Wild Things Are.

The report also provides a snapshot of the impact of film in related industries, including tourism. An impressive 10% (£1.9b) of revenues generated by foreign visits to the UK every year can be attributed to tourists coming to visit locations where famous films were shot. Initiatives such as Film London’s movie maps, encourage film lovers to discover corners featured in the Harry Potter films, Bridget Jones or Love Actually amongst many others.

Other sectors to benefit significantly from UK film production are national TV broadcasters (which generates £245m of revenue through films), sales of DVDs and Blue Ray (£124m) and related computer games (£85m).

Film London and BBC Films have committed to a further three years of partnership to continue producing micro-budget films through its award-winning film-making scheme Microwave, it was today announced from the Cannes Film Festival.

With films like the BAFTA-nominated Shifty and teen romance Freestyle already completed and released in the UK, Microwave has established itself as a scheme which supports emerging talent move from short to feature film-making, championing creativity and entrepreneurial spirit. The extension secures yet more opportunities for emerging film-making talent in the UK and brings the total number of features made under the Microwave banner to 13.

The training-through-production scheme today also confirmed two new greenlit titles from the last round of applications. Ill Manors is a multi-character and music-led story, and the feature debut by musician and actor Ben Drew – aka Plan B – and produced by Atif Ghani. Also now part of the Microwave slate is Borrowed Time, from London Film School graduates Jules Bishop, directing, and Olivier Kaempfer producing, a comedy about rediscovering youth. As with previous years, each project will be produced on a budget of no more than £100,000 with up to £60,000 cash funding from Microwave and the remaining finance raised by the production teams. All projects also benefit from the scheme’s extensive mentoring and training programme.

Now in its fourth year, Microwave’s success to date confirms it as a unique, commercially minded training and production opportunity and a launch pad for UK film-makers. A clear example of this is writer and director Eran Creevy, who was nominated for an award at this year’s BAFTAs for his ‘outstanding debut’ Shifty, alongside names like Sam Taylor-Wood (Nowhere Boy) and Duncan Jones (Moon). Creevy is currently finalising finance for his next feature, Welcome to the Punch.

During its short life, Microwave has inspired production programmes with a similar spirit around the world and has enjoyed outstanding results. The scheme’s three completed features Mum & Dad, Shifty and Freestyle, have seen UK theatrical releases and sold abroad. Moreover, with Microwave’s fourth film, British Guide to Showing Off now in post production, Strawberry Fields currently shooting and Foxglove scheduled to shoot later this year, the scheme and the talent it supports are expected to make a lot of noise in the coming months.

To keep up to date with information about Microwave, visit the scheme’s dedicated website or follow us on Twitter.

The renaissance of Film4 is set to continue following an emphatic vote of approval from the incoming Channel 4 chief executive, David Abraham, who has increased the budget of the film financing division by 20 per cent.

The announcement, ahead of tomorrow’s release of the comedy Four Lions, directed by Chris Morris, comes after a period of sustained critical success following hits such as Last King of Scotland, Venus, Happy-Go-Lucky, In Bruges and Slumdog Millionaire, which won eight Oscars at last year’s Academy Awards. Stanley Tucci was nominated at this year’s Oscars for his performance in The Lovely Bones, directed by Peter Jackson.

Film 4’s controller Tessa Ross said the news that the division’s annual budget is to be increased from £8m to £10m offered “great hope” for Britain’s filmmakers. Ross has steadily built up the movie financing operation since Channel 4 closed its film production arm, FilmFour Ventures, in 2002 when it was losing £5m a year.

Abraham, who joins the broadcaster from UKTV, said: “Film4 embodies all that’s great about Channel 4’s place in our creative culture. Under my watch, investment in British film will continue to sit at the heart of Channel 4’s public service mission.”

The broadcaster’s reputation as a key player in the British film industry dates back to 1982 when its opening-day schedule included the feature film Walter, starring Ian McKellen as a mentally disabled man. Hits since then have included My Beautiful Laundrette, Trainspotting, Fever Pitch, The Madness of King George, The Motorcycle Diaries and This is England.

On Film 4’s slate for 2010 is the latest project from the writer and director Mike Leigh. Starring Jim Broadbent and Lesley Manville, Another Year follows the ups and downs of a happily married middle-aged couple over 12 months.

Then there’s Submarine, written and directed by Richard Ayoade, who is best known as a comedy actor in The IT Crowd. The film, a coming-of-age comedy, features Craig Roberts as a 15-year-old Swansea boy trying to cope with his parents’ impending break-up while he attempts to start a first relationship of his own.

The Japanese filmmaker Hideo Nakata has made the thriller Chatroom, a modern tale of a group of friends who meet online but find that the relationships they later form in the real world are altogether different.

NEDS, written and directed by Peter Mullan (and standing for non-educated delinquents), is the story of a boy who turns from altar server and prize-winning scholar to glue sniffer and knife-wielding thug.

After his success with The Last King of Scotland, the Scottish director Kevin Macdonald returns this year with The Eagle of the Ninth, a Roman epic set north of Hadrian’s Wall.

Film4 is hoping to receive further awards at the Cannes Film Festival, which opens next week. Another Year, Chatroom and Native Son, a short film about a troubled Scottish farm labourer, are all selected for the festival.

Film4’s biggest hits

Slumdog Millionaire (2008) Danny Boyle was doubtful when Film4 approached him with an adaptation of the novel Q&A by Vikas Swarup. But the strength of the screenplay, about a Mumbai slum teenager who wins the Indian version of Who Wants to be a Millionaire?, convinced him. The film was initially earmarked to go straight to DVD; it went on to win eight Academy Awards and grossed £250m.

Borat (2006) Sacha Baron Cohen’s sexist, homophobic, anti-semitic and gloriously offensive “shockumentary” attracted lawsuits, but the majority were unsuccessful, and none made much of a dent in the film’s £172m global box-office total.

Trainspotting (1996) The story of heroin addicts in Edinburgh marked the major international breakthrough of the actor Ewan McGregor and director Danny Boyle. The film cost £3.5m to make and grossed £72m.

In this video Jenn Lee, formerly of Voltage Pictures and assoc. producer of “The Hurt Locker” gives a first hand account into the struggles Nic Chartier and Voltage Pictures faced in trying to raise funds and ultimately sell “The Hurt Locker” to buyers. The video also features Christian Solomon of Grosvenor Park, Jeff Steele of FilmClosings Inc., and Nicolas Chartier’s own mom!

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An interview with Independent Filmmaker, Haile Gerima. Maker of the documentary ‘Sankofa’, Ethiopian born Gerima, describes his journey from Ethiopia to Howard University.

Gerima speaks of his experiences in filmmaking and the uphill battle that independent filmmakers face. What struggles do independent filmmakers face in bringing projects to fruition? Gerima also talks about the issues surrounding his film ‘Sankofa,’ a widely acclaimed movie about slavery, and the influence his Ethiopian heritage has on his work.

This interview inspires Independent filmmakers to develop an inner understanding of themselves and the industry.

A day of FREE film screenings, workshops and information on how to crack the film industry

On Sunday 27th September, the VAULT project will be taking over Brady Arts Centre and hosting a day of film screenings, workshops and information on how to crack the film industry.

The event will feature live musical performances from the world of soundtrack composition alongside some exciting celebrity guests.

All young people aged 14-19 from across the five Olympic boroughs are welcome to attend and will receive a goody bag full of great film gifts along with the opportunity to win their very own top of the range Video camera.

Sign-up before Monday 7th September for your chance to win a fantastic film related prize!